okay just hear me out modern au where tommy ends up picking up ellie from pre school almost everyday since joel is busy but he keeps meeting teacher maria
okay bestie as a preschool teacher you GOT me with this one. like you got me SO GOOD. this might actually get published to ao3, you got me soooo fuckin’ good right now. i have so many unnecessary details for such a simple plot so here’s a cut
tbh i feel like even as busy as joel is, he’d prioritize picking up and dropping of sarah as much as he can, so maybe he and tommy would alternate???? so on days when tommy drops off, joel picks up and when joel drops off, tommy picks up. sarah goes to a public preschool with a lot of kids, so she gets easily overwhelmed and sometimes needs extra cuddles or kind words in the mornings to make it out of the car.
one monday, a couple months into school, sarah is particularly VERY anxious because there’s a new teacher to replace ms. doherty, who quit unexpectedly on friday “because she said we gave her alooooottt of headaches, daddy.” now, sarah knows nothing about the new teacher except that shes a girl from a place called new york—and sarah doesn’t even know what new yawk IS like, thats So Far Away??? (“it’s not really that far, baby,” joel says to her. “and it’s new york. with an o sound.”) still, sarah is VERY concerned:
is new yawk like another planet???? (no, babygirl.) but what if she’s an alien???? (the school only hires human teachers, baby. they promised.) but what if she’s a SECRET alien??? (she won’t be, i promise.) okay but what if she’s mean???? (if she is, you tell me or tommy and we’ll talk to her about it, okay? she shouldn’t be mean to you.) what if she doesn’t play good music at quiet time???? (you can ask her nicely and i bet she will, baby. just say please and thank you, okay?)
still, even with her questions answered, sarah is very nervous on monday. both joel and tommy go with her in an effort to start her day off extra good, especially because joel can’t pick her up. they reassure her that new york has plenty of nice people and her new teacher will probably be one of them. she also gets TWO WHOLE extra minutes of cuddle time with BOTH of them before she and daddy have to leave the car—it’s half for her and half for them, because they’re honestly pretty anxious for her to like her new teacher too
joel is the one to hold sarah’s hand and walk her inside, because the school prefers only one guardian to drop off at a time. tommy’s nervous, but joel actually seems pretty pleased when he gets back to the car with no sarah in tow. surprisingly, he’s back faster than any time they’ve ever dropped sarah off before. with a proud smile, he tells tommy is that miss maria seems really nice. more importantly, she’s Black, which joel says Sarah got really excited about. tommy pries for more details, and he’s glad he does: apparently miss maria has locs, a few even blue and purple, and the first thing sarah’d said to her was an emphatic “😲😍🤩 i like your hair!!!!!!!!,” to which she had responded “thank you! i like your hair! what’s your name, sweets?” and that’d been that
later, when tommy does pickup that day, he doesn’t know what to expect. most times at the end of the day, sarah is super reserved and a bit cranky, eager to get home to finally have time to herself. tommy’s goal is usually to try and get her to at least wave goodbye to her teachers like joel asks—but, more often than not, she opts for reaching for uppies and hiding her face in his chest until they leave.
today??? no. it takes sarah a full two minutes to even notice tommy’s there because her and this drop-dead-fucking-gorgeous woman in a soft-looking lavender pants and blouse set are finishing up a painting at the easel wall. they’re working on what looks like a brown and purple butterfly, probably the most carefully shaped sarah’s ever made.
tommy’s heart stops when this goddess miss maria finally looks over at him and smiles with perfect pearly-whites, waving him over behind sarah’s back. when she says “sarah honey, i think someone’s here for you!” in her sing-songy toddler-tone, tommy swears an angel gets his wings. sarah turns around, shrieks with joy upon seeing him, and runs down to him with her arms out, yelling all the while: “THOMMYYYYYYY!!!!!”—because sarah’s still working on her hard ts—“thommy!!!! thommy thommy thommy come look!!! i made a butterfly for u!!!!! look!!!!! it matches ms. maria!!!!!! it’s gorgeous!!!!” (she’s been obsessed with calling things gorgeous ever since she heard tommy say it about a harley motorbike last week. joel especially thinks it’s cute, especially because of how she over-emphasizes the j-sound: gor-Jus.)
tommy’s never seen her so excited to show her art off at pickup-time before; usually, she waits until they’re home and she’s feeling less shy to start showing off, but she’s babbling and pointing to it as he picks her up and sets her on his hip: “it’s brown and purple like miss maria!!! isnt it so gorgeous, unca thommy??? do you like it???? aren’t they SO gorgeous????”
and now miss maria is looking at him. and he’s looking at her. tommy knows he’s blushing, and he hesitates—which sarah does NOT appreciate, so she says: “unca tommy!!!!!!! don’t be WUDE! thell miss maria she’s gorgeous!!! she is!!!”
luckily, miss maria saves him by explaining, in a slightly firmer teaching voice: “sarah sweets, that’s okay! we’re only just meeting, and that’s not really something you say to a stranger, okay?”
“but why noooooooot?? you are gorgeous! like my butterfly! isn’t she so gorgeous, thommy?”
“well, yeah, of course,” tommy agrees easily, because she obviously is—and shit. now miss maria is looking at him like he’s a fucking bonehead, because he obviously fucking is. “but—uh, i mean—she’s right, hon’. you gotta listen to your teacher, and that’s not somethin’ you say to a stranger, okay?”
but then, after thinking to her tiny self for a few seconds: “well if she stays my teacher then she’s not a stranger, is she???” sarah asks tommy, then turns her conniving little head towards maria, too. “and you said you’d stay! so can he say you’re gorgeous tomorrow?” then, without waiting for an answer, she’s back towards tommy to finish: “i think you should call her gorgeous tomorrow.”
“i think we should go home, s’what i think,” tommy says, finally deciding to save himself from four-year-old torment. he sets sarah down and pats her on the end with a gentle but firm request to go get her stuff from her cubby, which she goes to do without her complaints of being too tired to walk. maria watches them closely with a close-lipped but relaxed grin. when sarah’s out of earshot, he apologizes. “sorry ‘bout that, ma’am.”
“don’t be,” miss maria teases, crossing her arms. “you did call me gorgeous, after all. i’ve had worse introductions.”
“tommy miller,” he offers, moving to shake her hand. he notices her nails are done-up, a sparkly blend of pretty shades of purple that look tie-dyed on somehow. her hands aren’t soft, not really, but they’re smooth enough to make him shiver as he pulls away. “sarah’s uncle.”
“oh, i know,” she reassures, then nods her head pointedly towards sarah. the little one is coming back towards them with her lunchbox in one hand and her water bottle in the other, walking extra careful so she doesn’t trip over herself like she did last week, tommy guesses. clearly fond, maria continues. “she spent all day telling me about you and her daddy. you’re doing great with her.”
“unca thommy! i’m ready to go!” sarah sing-songs, interrupting whatever miss maria might’ve said next. internally, tommy thanks his niece—the you’re doing great was already enough to make him cry, and he’d rather not do so in front of either her or her amazing new teacher. plopping her lunch and bottle at tommy’s feet, sarah gives not one, but two eager waves to miss maria, hands flapping madly up towards the woman’s face. “bye miss mariaaaaa!!!! i’ll see you tomorrow!!!!”
“bye sarah sweets!” maria says back, waving just as enthusiastically. to tommy, she raises an amused, teasing eyebrow. just loud enough for him to hear as he turns away, he hears her say “bye, gorgeous,” and laugh, giving yet another angel a pair of wings.
it takes everything in him to not fall straight to the floor, toppling his own precious niece, right then. he doesn’t think he even breathes until both he and Sarah are secured in the car, him in the front and her in her carseat. she’s already babble singing mary j. blige’s “just fine,” which they usually play and sing on their way home from school to help her regulate. when he plays the song this time, sarah smiles bright at him through the rearview and says “i already feel just fine, unca tommy!!! but can we still play it, just for fun?”
“of course, baby,” he says, and start singing along with her. he’s feeling just fine, too.
🫶🏾🫶🏾🫶🏾🫶🏾🫶🏾🫶🏾🫶🏾
tagging some homies (btw just let me know if u wanna be tagged in this kinda stuff or not guys! im never sure lol): @becomethesun @clickergossip @boilingcowboy @bumblepony
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Runaway Turned Thief, His First Horse, and its Consequences.
Cole's first horse after the razing of his hometown is a dark bay no-spot appaloosa mare. She's built for long distance riding, and bursts of extreme speed for outrunning trouble. While she can go quite aways, there is definitely a lack of stamina in maintaining a sprint in comparison to a fully committed race horse.
He steals her from two drug mulers who had been camping out in the wilderness. This is where he ends up with most of his supplies that he keeps with him 'til Deadlock, including a second revolver to go with his first, a analog hunting rifle that he uses extensively for hunting and self-sustenance, and dressing knives. (Before then, he had a bed roll that was on its way out, carried in a ragged pack, a multi-tool, a foldable knife, and a water bladder; one extra set of clothes. Having a horse allowed him to pack greater inventory, travel further, and carry more quality of life items such as a wire set to cook over fires, rope, etc. Etc. In the case of meeting @/quick-drawn, she also allowed him to pack game to bring back home.)
He is on the verge of becoming 12, having left the orphanages some months prior (having been inducted into the system at 11 and spending time being tossed around for about 6-8 months). The whole debacle is a bit of a shit show with him waiting for the dark of night, pressed flat to the ground on his stomach amidst the cover of large rock and sage bush rooting between the crevices. He is, at this point, learning to be a little more clever with his thefts, scoping out the individuals, the layout of the camp (but fails at this time to consider escape plans, terrain.)
Sky turns indigo, then a void of black fractured by the salt-scatter of stars. Fire's died out to embers and the men retire to their tents. Cole scrapes himself up to his feet, scurries down the path tied between hasty and careful and rifles through their supplies like a shambling animal that's wandered someplace it don't belong. He ransacks ammunitions, the aforementioned firearms, some cans of food and a flask engorged with gin, amongst an assortment of other things; gathers and piles them up in the saddle bags on the Appaloosa.
Men start rousing as he's on the tail end of packing - the one stirring with a need to take a piss - and the little heist becomes a smash-and-grab operation where he's cutting the reins with a knife and blasting down the mountainside as they start yelling and searching for their firearms.
Later on, when it's deemably safe and he's lost them, he rummages through her saddle bags and finds papers reading Honeysuckle and his face scrunches up sour. Amber-brown eyes dart up from crinkled black print to the dark pits of the horse's. "Y'don't seem like a Honeysuckle."
He doesn't know why, but the name Maria falls off his tongue much easier. Fits her features more, he thinks. (It is, absolutely, a lapse back into his religious roots. Finding the name like a prayer, which he utters in both thanks and apology. Most of all, the significance just falls down to lyrics of Plastic Jesus: Goin' 90 I ain't scary, 'cos I got the Virgin Mary assurin' me I won't go to hell.)
She's a playful mare, likes to 'sneak up' on him while he's turned away despite the very obvious noise of her shoes hitting the ground. Likes to nuzzle her head into his neck, or knock into his back, set his hat off-kilter. Loves hoofing at creek/river/brook water - though that's a learned habit when he decided to splash at her on a non-eventful, idyllic day at a lakeside shore. Steady girl - he'll call her lady, sometimes. There are days where he'll share a beer with her, too.
He is somewhere in the throes of 13 when he unfortunately re-crosses paths with his victims. It's serendipity on their end, an accidental run-in out in the wilderness near an ol' gutted hunting lodge. The owners recognize Honeysuckle and they sneak up on him like he'd done with them, except instead of running off with a horse and materials, they put a gun to him and have him flag up his hands. They don't know what to do with him (there's an additional man to the original duo) and they murmur amongst themselves in Spanish after beating him to the ground and tying him up; they converse like this thinking the boy can't understand.
There's not a lot going for them to toss him towards a lawman; not a lot of pretty coin for a petty thief, not in these days where the economy and infrastructure's been starved out to a post-war drought. One of them suggests killing him out back. There's nothing really stopping them, and they could re-collect their stolen goods and continue on their way. They'd lost money because of the kid's stunt, lost out on 50% of what they could mule with only 1 horse instead of two.
Third man finally says, Sell him. Some place beyond the border where English is just a rumored language spoken only on tv sets. Labor camps need more hands. Sold men are cheaper than the free ones. He gets his reckoning, we make-up our money and then some.
In English, they tell him that in ancient times the law would have his hands severed from the wrists for theft and they knot up the binds on his hands aggressively tight to prove the point.
And then they'd travelled South, days piling into days. The ribbed rope would gnaw the skin raw, chafing towards bone like it's trying to eat him alive, and the entire thing leaves his wrists risking sepsis and scars; bloody, mangled.
they're stopped by in some post-war abandoned location along the way to rest that's filled with rusty tools and broken beer bottles. Some sort of logging warehouse. Cole finds a shitty piece of glass on a countertop and palms it; clenches his hands around it even when it threatens to nip cuts and draw blood. The men get ready for bed. Cole starts sawing at rope fibers. One of the men check up on him while he's just about free - the binds snapping loose as he realizes something isn't quite right.
Cole doesn't know where the guns are; his hands are in too much pain to aim straight anyway. First man goes down with Cole tackling him right into exposed pipes, gritty sawblades. Commotion brings the other two out: one tries to grab him from behind, while the other moves to sling a punch to the gut. Cole kicks wildly, butts his head into the nose of the man who's got hands on him. He's dropped to the floor. His knees ache from impact but it's his wrists that are screaming and he chokes out a strangled noise of pain, blearily grabbing at a slaughtered beer bottle that he's landed right next to.
Man in front of him's had enough, is going for his gun when Cole launches up into him with the bottle in hand. The serated glass punctures cheek flesh, into an eye socket. Man screams. Cole reels the glass back and keeps jamming it back down - and his face is soaked by the gore of it. The screams stop coming, and there's a thick hand that gloves around his shoulder. By some blind, desperate instinct, his other hand has found the handle of the dead man's gun when he is swung around with a fist cracking into his jaw. The glass bottle crashes into the floor. A gunshot spears the air. A third body cripples to the floor, blood guttering from the stomach. He spits on them, staggering to his feet: hablo español, hijo de puta - ir a la mierda.
He shambles out from the building, doused in blood, brain matter, and tries to put on a brave face, but he starts breaking down and ends up mumbling in a sort of low-key hysterics to maria "im sorry, im sorry, im sorry" -- doesn't know what he's apologizing for, that he stole her, that he killed her previous owners, that he's alive. Between the adrenaline and everything crashing in all at once, it's the first time he's reduced to tears since the times before the war.
Exhausted, he falls asleep outside. Leaves the men as is and weakly cuts their horses free (too tired by it all, he doesn't think to search their pockets for money, to rifle through saddle bags before releasing their mounts.) It's a mistake, because the news will later search for the horse owners, talk about a bloody horror scene found in the stomach of a logging complex. But, until then, the next few days are of travel, trying to find a main road while his wrists are pounding hellfire.
He ends up stumbling into a gas station in the middle of bumfuck nowhere looking like road kill. The attendant is startled right out of his seat as Cole walks up to him and shoves forward a fistful of ruddy-colored bills.
His voice rattles like pennies in a rusted gutter; tinny, scraping. He croaks, "I got some money for a band-aid and some rubbin' alcohol."
Man thinks this kid's been in a motor vehicle collision, says, "Kid you're going to need a lot more than just a band-aid" as he unlatches the medical kit from the wall. He seats Cole down on a plastic foldable chair, patches him up free-of-charge to the best of his ability the way a gas station attendant can offer. Man adds in a pair of gloves to make sure the gauze don't shift around too much. Man asks questions.
Where's your parents? What happened?
Cole says war got them. That he got into an accident.
Man tries to have Cole clean up in the bathroom, says there's snacks waiting outside while he phones for the police. Cole washes up, peels off his clothes for the last set he's got, and pockets the medical supplies the man had been using. He walks off, leaving the bathroom -- just does not come back inside -- and hitches back onto Maria and starts to ride off before anyone can come.
He leaves a few crumpled dollar bills on the sink.
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